NOC Review: ‘Ray Gunn’ is a Brad Bird Blast

The future is here! Brad Bird is back, and this time, he’s finally been given the green light to bring a passion project more than 30 years in the making to life: the retro-futuristic sci-fi noir, Ray Gunn. This is Bird’s first film since 2018’s Incredibles 2. So does it soar to the same heights as his classics? Let’s just say in a movie that features flying cars and jet packs, you better believe it!

Bird has an imagination and wit that’s in short supply within the industry. Many of his films feature trademarks of his unique style with a love for fast-paced, space-age, “World of Tomorrow” optimism that so rarely exists in film and television these days. It’s no wonder that every time he releases a project, it feels fresh and utterly original. And Ray Gunn is no exception. In fact, I dare you to find any animated film out there quite like it. Ray Gunn is the animated PG-cousin of Blade Runner and The Big Lebowski. And the industry is lucky it exists. I, personally, sure am grateful for it.

Ray Gunn centers on the eponymous private eye operating in a futuristic utopia where humans and aliens coexist. He’s pulled into a mystery involving a femme fatale starlet named Venus Nova. As Ray gets further involved with Venus and with the criminal underground, he finds himself searching for answers that could help him crack the case about a murder at the center of his investigation.

A simple synopsis like that is just not enough to do Ray Gunn justice. The world-building in the film is magnificent, as is Bird’s ability to immerse you in this incredible world. The artwork, the production design, and the sound (courtesy of legendary sound designer Ben Burtt) truly transport you into this alternate past/future where anything seems possible, but a lot of today’s flaws still exist (e.g. xenophobia).

Bird’s world is not nearly as dark and seedy as one may expect from a noir-inspired film. It’s actually quite positive. However, it’s still flawed and moody enough to live up to the reputation of being unmistakably noir. This makes the world that Bird crafts incredibly unique, with weapons and gadgets that are out of this world and truly imaginative, and an implied history between humans and the alien population on this planet that not only drives the plot, but also fleshes out what sort of world Bird has created.

The vocal performances within the film are also stellar, with Sam Rockwell giving one of his most charming and pitch-perfect performances to date. Like any good detective in a noir, Rockwell knows how to nail the smart-ass persona, but blend it with a sense of pure-hearted heroism. In some ways Ray Gunn is the antithesis of most hardened cynical noir detectives, as he actually tries to fight for incorruptible truth. It makes the character a hero we genuinely want to root for, and Rockwell’s charisma and swagger allow us to very easily connect with this funny, wily hero. For those looking for the cynicism, however, that comes in the form of Tom Waits’ Eyera, Ray Gunn’s gruffer, long-suffering partner. Waits’ gravelly voice is absolutely perfect for the part, really giving the character, and by proxy the world around him, that 1940s mystery feel. And finally, Scarlett Johansson as Venus provides the perfect femme fatale voice. Her performance is classically sultry, yet volatile, allowing her to perform sweet and innocent one moment, and explosively angry the next. She embraces the typical tropes one would expect from a noir’s femme fatale, while adding a bit more tenderness and relatability to the character, allowing us to understand and sympathize with the strong connection that forms between Venus and Ray.

Thematically, there’s a lot to love about Ray Gunn, particularly Bird’s commentary on the plight of immigrants and the systemic barriers they face in their pursuit of opportunity and success. This is absolutely demonstrated in the way the rest of the world treats Eyera versus how Ray sees him. There’s also several aspects of the core mystery that do tie back into this theme.

Bird also has a lot to say about institutional and corporate corruption, providing commentary on the lengths to which a consumerist society will go to embrace technology like A.I. in order to make a quick buck. Without spoiling any plot details, several characters actively seek ways to replace organic life with artificial intelligence, reflecting a society increasingly willing to sacrifice humanity for technological advancement. However, as is par for the course with Bird, he’s never making these themes the focus of the film, blending them seamlessly into the narrative so you’re entertained without the messages being heavy-handed. It’s a skillful balance between smart and engaging storytelling that ultimately leaves you satisfied as you’re being entertained by the stellar (and often chaotically hilarious) action sequences on screen.

That being said, Ray Gunn is not without its flaws. While the film is a noir mystery at its core, it is admittedly not a very complex one. Though the film is never dull and remains consistently dynamic and engrossing, I’d be lying if I said I couldn’t predict most of its twists well before they occurred. Perhaps my proclivity for detective stories has conditioned me to seek out answers and solve the mystery ahead of the narrative. Or perhaps it’s the cynical critic in me talking. However, the truth of the matter was that the mystery at the heart of this film was fairly thin, with one of the bigger “twists” being hindered by a vocal performance that probably should have had more versatility. One can definitely argue that they were likely not trying to make anything complicated, which does enhance the entertainment factor for some. But if you’re going solely to see an unpredictable or complex mystery with Ray Gunn, my suggestion would be just to sit back and enjoy the visuals, the humor, and the action instead.

Of course, in many ways, simpler detective stories can be more satisfying than overly convoluted ones. As such, this allows Ray Gunn to replace the complexities in the narrative with technical and world-building complexities that prioritize immersion of the audience over the mystery of the narrative. It simplifies the story to challenge audiences in other ways, so as not to bombard them with too much at once. So while the story and the mystery at its center may not be ambitious, everything else about Ray Gunn absolutely is, which gives audiences a reason to embrace this world and see this film on the biggest screen possible.

Adding to that complexity is, of course, Bird’s longtime collaborator, composer Michael Giacchino. Much like he does with Incredibles, Giacchino’s big band approach to the score is superb. It gives even more personality and spark to the world of Ray Gunn, blending the composer’s signature hopeful and dynamic energy with noir vibes that feel deeper and more mature than his previous collaborations with Bird. His sound allows us to feel the excitement when Ray and Eyera are in danger, and the passion and growing chemistry between Venus and Ray. It’s a stellar piece of work that brings this hybrid of a bygone era and a futurist’s dream together naturally. Musically, the film also features three bangers from songwriter, Kimbra, which are beautifully performed by Johansson. While we’ve heard Johansson’s musical stylings in previous movies, like the Sing franchise, Kimbra’s songs challenge her to hit notes we haven’t previously heard her hit, and for the most part, the starlet absolutely nails them! I personally had no idea she was capable of the range a song like the stylish charmer, “Too Much to Ask” required of her, but she rose to the challenge and knocked it out of the park.

Overall, the world and the style Bird has cultivated in Ray Gunn is absolutely gorgeous and worthy of multiple visits. It’s truly a unique animated film with a sophisticated maturity to its themes that we know the filmmaker loves to challenge his audiences with. The visuals and concepts, from the production and sound design, the character design, and the narrative history of this universe are unlike anything we’ve really seen in recent animation. The music, from Giacchino’s score to Kimbra’s songs, is equally charming. The only downside is the film’s predictability and, in some ways, its thin plot. Thankfully both are redeemed by terrific, complex characters with a pitch-perfect voice cast bringing them to life. Is Ray Gunn on the same level of films like The Iron Giant, The Incredibles, or Ratatouille? Definitely not. But damn if it isn’t an absolute blast, and, if not the best, certainly the coolest and most stylish animated movie of the year so far!

Overall Score: B+